Rinascimento Ita
Rinascimento Ita
Rinascimento Ita
A DVD collection of the Italian Renaissance masterpieces in the highest definition available Archivage des images numriques de la peinture de la Renaissance Italienne Archivio digitale dei dipinti del Rinascimento Italiano in DVD
This publication is supervised and commented by Antonio Paolucci, Director of the Vatican Museums.
Rinascimento Italiano
Rinascimento Italiano
The publication of this digital archive marks a change in the study of the history of renaissance art.
La publication de cet archivage numrique va faire voluer ltude de la Renaissance italienne. La pubblicazione di questo archivio digitale segna una tappa importante per lo studio del Rinascimento italiano.
Scala in Florence, with its 50-year history and the biggest printed art archive in Italy, has put all its energy into creating this digital art archive, published around the world simultaneously in four languages: English, French, Italian and Japanese. From the second half of the thirteenth century through to the early seventeenth century, 506 artists took an active part in what is widely termed the Italian Renaissance. Their main art works here contain 8000 art pieces in all, which displayed with a maximum of 10,000 by 7,500 pixels (more than 20 times the resolution of high vision) represent the absolutely highest definition that can be seen.
It is as if everything appears right there before your eyes. You can see such detail that even the touches of the brush strokes are visible.
Les images apparaissent saisissantes comme si vous tiez devant loriginal. Vous pouvez apprcier des dtails comme les coups de pinceaux de lartiste. La qualit delle immagini tale che vi sembrer di essere di fronte alle opere originali : tutti i dettagli, fino a distinguere persino le pennellate.
The art historian Roberto Longhi is known to have concluded upon seeing the angel above the right shoulder that Masolinos masterpiece, Madonna and Child with St. Anne, in the Galleria degli Uffizi, Florence, had in fact been painted by Masaccio.Using the enlarged digital image we can indeed recognize that the angels on the left and right are the work of two different hands. The one on the right reveals the strong touch of Masaccio, with its flowing locks of hair and a momentary flash of light. According to Longhi, this one art piece represents a transformation in the quality of art, signaling its great leap into the Renaissance.
Masolino da Panicale, Madonna and Child with St. Anne (Galleria degli Uffizi, Florence) Enlarged image of the angels on the left and right.
With the latest technology, a new window opens into art appreciation and research. From cracks that have appeared over the years, it is possible to decipher not only the way art pieces have been preserved, but also the drawing techniques that existed at the time.
La dernire technologie permet douvrir une nouvelle page de lapproche et de la recherche de la peinture. Les fissures de la couche picturale dclent ltat de la conservation du tableau ainsi que la technique de lpoque. Luso di tecnologie allavanguardia offre un nuovo strumento per apprezzare e studiare larte. Osservando le crepe createsi negli anni possibile, ad esempio, conoscere sia lo stato di Filippo Lippi Madonna and Child conservazione dellopera che la tecnica pittorica utilizzata. with Two Angels
Compare Leonardo da Vincis Mona Lisa (Muse du Louvre) and Filippo Lippis Madonna and Child with Two Angels (Galleria degli Uffizi, Florence). One can observe each of the images, enlarge the places in the paintings with the greatest detail, and set them side-by-side for comparison. Lippis Madonna reveals a relatively deep vertical crack in the area from the brow to the forehead. Accordingly, the contraction of the surface of the painting is clearly visible with the passage of time because it has affected the paint deep beneath the surface, and thus definitely seems in need of fixing. On the other hand, Leonardo da Vincis Mona Lisa displays a number of cracks around the cheeks and forehead, but these are relatively much smaller, more variable and expand radially. Of course, the Mona Lisas surface coating of paint has shrunk. Even so, compared to Lippis work, the Mona Lisa does not reveal deep cracks. The question then is where these differences come from. Simply put, it is not just a question of preservation. The Mona Lisas complex cracking shows us that during the painting process, the paint was applied in layer after layer. This so-called Sfumato painting style thus reveals that Leonardo da Vinci must have been inquiring into the effects of light.
(Galleria degli Uffizi, Florence) *Before Restoration Leonardo da Vinci Mona Lisa (Muse du Louvre)
From the point of view of 20 years of digital image archive education and research, a single point has now been reached.
Cette collection de DVD est le rsultat de 20 annes de recherche sur limagerie numriques dart. Questa collezione di DVD il risultato di 20 anni di ricerca nel campo dellimmagine digitale.
This DVD series of digital images of course contains a view of each work of art as well as various other options. You can find the art pieces immediately by selecting them from the list of artists, and you can also get all the information about that particular art piece and the artist.What we have also done is to develop a special viewfinder with an extraordinary zoom capability. It allows smooth transitions when focusing on the smallest detail and enlarging it from within the art piece as a whole.
Enlargment indicator
Le bon droulement de lagrandissement de limage permet, pour la premire fois, la dcouverte de lessentiel et la vritable valeur des uvres. La funzione di ingrandimento delle immagini permette di apprezzare lopera nel pieno del suo significato e di indovinare le intenzioni dellartista.
The ability to allow such smooth transitions while enlarging allows, for the first time, the discovery of things about the artists real intentions or the true value of the works.
It is possible to see all the art works by the artists in the form of a slideshow. There are also biographies of the main artists.
All the art pieces can be printed out in A4, and you can use them as a record for study (any pictures printed out contain a digital watermark).
Images can be used for academic purposes only. Images disponibles pour usages acadmiques seulement. Le immagini possono essere utilizzate unicamente a scopo accademico.
Cimabue Duccio di Buoninsegna Giunta Pisano Pietro Cavallini Bonaventura Berlinghieri Coppo di Marcovaldo Guido da Siena Jacopo Torriti Bottega di Guido da Siena Corso di Buono Fra Jacopo Gaddo Gaddi Maestro dei Crocifissi Blu Maestro del Bigallo Maestro del Farneto Maestro del San Francesco Bardi Scuola di Bonaventura Berlinghieri Maestro della Croce di Gubbio Maestro della Croce n. 434 degli Uffizi Maestro Fiorentino / Maestro della Croce n. 434 degli Uffizi Maestro della Maddalena Maestro di San Francesco Grifo di Tancredi Maestro di San Martino Maestro di San Remigio Maestro di SantAgata Maestro di Santa Chiara Margarito dArezzo Scuola di Duccio di Buoninsegna
DVD4: I Senesi
Simone Martini Ambrogio Lorenzetti Pietro Lorenzetti Lippo Memmi Barna da Siena Memmo di Filippuccio Maestro dOvile Meo di Guido da Siena Niccol di Segna Segna di Bonaventura Ugolino di Nerio
DVD2: Giotto
Giovanni da Milano Giusto de Menabuoi Vitale da Bologna Paolo Veneziano Matteo Giovannetti Altichiero da Zevio Guariento di Arpo Jacopo Avanzi Tommaso da Modena Stefano Veneziano Giovanni da Rimini Pietro da Rimini Francesco da Rimini
FROM BEATO ANGELICO TO BOTTICELLI The Consolidation and Spread of the Renaissance
Giovanni di Paolo SassettaVecchietta Francesco di Giorgio Martini Domenico di Bartolo Sano di Pietro
Carlo Crivelli Andrea Mantegna Liberale da Verona Francesco Squarcione Marco Zoppo Giorgio Schiavone Giovan Martino Spanzotti Carlo Braccesco Bernardino Lanzani Vittore Crivelli Cecchino da Verona Cristoforo Caselli Cristoforo Moretti Defendente Ferrari Domenico di Bernardino Capriolo Francesco Morone Domenico Morone Filippo Mazzola Francesco Bonsignori Girolamo da Treviso Bernardino Parenzano Gian Maria Falconetto Giovanni di Corraduccio Giovan Pietro da Cemmo Giovan Francesco Caroto Giovanni di Cristoforo Agosta
Michelangelo Buonarroti Fra Bartolomeo Andrea del Sarto Mariotto Albertinelli Anonimo artista del nord Italia, copia da Michelangelo Aristotile, copia da Michelangelo Marcello Venusti, copia da Michelangelo Anonimo artista, copia da Andrea del Sarto Daniele da Volterra Francesco Granacci Gerino da Pistoia Giovanni Antonio Sogliani Giuliano Bugiardini
Giorgione Tiziano Vecellio Lorenzo Lotto Sebastiano del Piombo Il Pordenone Bottega di Tiziano Vecellio Scuola di Tiziano Vecellio Anonimo artista, copia da Tiziano Vecellio
Romanino Giovanni Girolamo Savoldo Moretto da Brescia Giuseppe Arcimboldo Gaudenzio Ferrari Jacopo Palma il Vecchio Giovan Battista Moroni Tanzio da Varallo Andrea Previtali Andrea Schiavone Antonio Campi Jacopo de Barbari Bernardino Licinio Bonifacio de Pitati Camillo Boccaccino Domenico Mancini Fede Galizia Francesco Torbido Giovan Ambrogio Figino Giampietrino Cariani Giovanni Paolo Lomazzo Giulio Campagnola Giulio Campi Luca Cambiaso Paris Bordone Sofonisba Anguissola Vincenzo Campi Vincenzo Catena
Publication Schedule
BOX 1 / End of January 2009
DA CIMABUE A MASACCIO
Dalle origini della pittura italiana allinvenzione della visione prospettica CIMABUE TO MASACCIO From the Origins of Italian Painting to the Invention of Perspective DVD1:La nascita della pittura DVD2:Giotto DVD3:Giotteschi fiorentini DVD4:I Senesi DVD5:Il nord Italia 1 DVD6:Il centro e il sud Italia 1 DVD7:Il gotico internazionale DVD8:La nascita del Rinascimento The origins of painting Giotto The Florentine followers of Giotto The Sienese Painters Northern Italy 1 Central and Southern Italy 1 The International Gothic The birth of the Renaissance
DALLANGELICO AL BOTTICELLI
Laffermazione e la diffusione del linguaggio del Rinascimento FROM BEATO ANGELICO TO BOTTICELLI The Consolidation and Spread of the Renaissance DVD1:Il primo quattrocento fiorentino 1 DVD2:Il primo quattrocento fiorentino 2 DVD3:Piero della Francesca e i seguaci DVD4:Perugino e Pinturicchio DVD5:Siena e Arezzo DVD6:Il secondo quattrocento fiorentino 1 DVD7:Il secondo quattrocento fiorentino 2 DVD8:Il centro e il sud Italia 2 The early 15th Century in Florence 1 The early 15th Century in Florence 2 Piero della Francesca and followers Perugino and Pinturicchio Siena and Arezzo The late 15th Century in Florence 1 The late 15th Century in Florence 2 Central and Southern Italy 2
DA CORREGGIO A CARAVAGGIO
Dalla crisi della Maniera al Naturalismo FROM CORREGGIO TO CARAVAGGIO From the Crisis of Mannerism to Naturalism DVD1:Il nord Italia DVD2:Venezia nella seconda met del 500 1 DVD3:Venezia nella seconda met del 500 2 DVD4:La pittura emiliana del 500 DVD5:La pittura a Siena nel 500 DVD6:I Carracci e la corrnte classicista DVD7:Roma prima e dopo Caravaggio DVD8:Le relazioni del rinascimento italiano con lEuropa Northern Italy 3 Venice in the Later 16th Century 1 Venice in the Later 16th Century 2 Emilia Romagna in the 16th Century Siena in the 16th Century The Carraccis and the Classicists Rome, Before and After Caravaggio The Italian Renaissance and Europe
Venice in the 15th Century Northern Italy Leonard and Milan, Emillia Romagna Raphael and the Roman School Michelangelo and Florence in the Early 16th C. Venice in the Early 16th Century Florence in the Early 16th Century Florence in the Later 16th Century
Via Chiantigiana 62 / I 50012 Bagno a Ripoli (Florence) Italy Tel: +39 055 62 33 200 [email protected] www.scalarchives.com
For more infomations...... http://www.c12editions.com/ri/ Images can be used for academic purposes only. Images disponibles pour usages acadmiques seulement. Le immagini possono essere utilizzate unicamente a scopo accademico.